Mr. Ventura (Jaime Fabregas), Ken (Dan Fernandez), Nats (Daniel Pasia) and Desiree (Joanne Quintas) are in the jungle looking for a great treasure, but what they find is a gigantic creature that looks like a Big Daddy Roth character mixed with The Pitt or some other post-McFarland 90s comic book monster with huge teeth.
There are a lot of people who say that this is a Predatorclone, but it has more the feel of Without Warning, a movie that has an alien hunter with a throwing star that feels like the movie Predator was stealing from.
Director Maurice Carvajal came from doing special effects, so you just know that the monster is going to look incredible. Some people, however, may have an issue with the cook on the expedition, who dressed in women’s clothes and wear makeup, but is presented as an idiot to be laughed at.
Also: This contains “Scatman’s World” by Scatman John and yes, that was once a thing.
Directed by Lawrence D’Souza and written by Talat Rekhi, Papi Gudia starts when a criminal named Charandas (Shakti Kapoor) escapes the police and runs into a toy store. Before he dies, he transfers his soul into a doll named Channi which is sold on the street to a young boy who needs a friend and gets a killing machine that throws his babysitter out the window.
Yet it also has some of the weirdest song and dance moments I’ve seen in some time, as Alka Yagnik sings “Music I Love The Beat” at a talent show and it breaks whatever reality — yes, I realize this is a movie where a girl’s doll with a jaunty cap becomes a walking and talking murder puppet — exists and takes over the movie for nearly ten minutes of happy pop bliss. If you have issues with the zooms of Italian cinema, get ready to lose whatever is left of your mind or lunch.
“The story idea of the film is to create positive feelings in children which will make them careful against similar situations in the future and also to warn them against blind faith or surrender to alien things be it a doll or computer toys, robots, etc.”
I mean, just look at this doll.
Bring on all the remix remake rip-off Chucky clones and allow me to hold them.
Aatank means Terror but what you may think it means when you see the poster for this Bollywood movie is Jaws. Directed by Prem Lalwani and Desh Mukherjee and written by Sachin Bhowmick, the truth is that sharks are just part of this movie.
Jesu (Dharmendra) and Peter (Vinod Mehra) are childhood friends who have become fishermen. Their entire town is run by organized crime figure Alphonso (Amjad Khan, who died during the time this was filmed in the 80s and released in the mid-90s, so his voice is dubbed). Whenever someone sees a little bit of success like when the fishermen find pearls, that fortune eventually goes to Alphonso. And when the gangster overfishes the ocean for those pearls, a man-eating shark is disturbed enough to start eating his divers.
Jesu is the only person willing to stand up to Alphonso. But even he can’t stop what happens next. Peter gets married to Suzy D’Silva and after the ceremony, he and his wife start to consummate their marriage on the beach. And that’s where, nearly an hour into this movie, the shark does what sharks do in movies. As Peter passes out on the beach, drunk from his wedding night, his bride is devoured by a shark that was paying attention to Jaws: The Revenge and roars like a lion.
Peter goes to get revenge and then, as you can expect yet again, is also bitten into pieces. I mean, just look at this shark. It’s nearly a megalodon. At the same time, the government has finally cracked down on Alphonso and his men, so their getaway by helicopter seems to be cosplaying one of the best moments of Jaws 2. Or The Last Shark.
At other times, the shark sounds like Godzilla. I love that choice, I also adore the miniature ships being tossed around on the waves, challenging The Ghost Galleon for realism. The shark attack scenes are also completely wild, mixing quick cuts, multiple looks and seemingly an endless array of colors and angles.
Aatank at times may not seem like it’s the shark movie you’re looking for, but be patient. It gets pretty amazing before it’s all over.
EDITOR’S NOTE: The Chattanooga Film Festival is happening now through June 29. To get your in-person or virtual badge to see any of these movies, click here. For more information, visit chattfilmfest.org and follow us on Facebook, Twitter and Instagram.
This film is presented with a brand-new, CFF exclusive commentary — for hybrid VIP and virtual VIP pass holders only — by director Gil Adler and co-writer A L Katz!
After Bob Gale and Robert Zemeckis graduated from USC, they wanted to break into movies and decided that an exploitation film was the easiest way in. They pitched this script to John Milius, yet ended up debuting with 1941.
When Tales from the Crypt — the TV series — started becoming a series of movies, instead of mining the old EC Comics, like the show and movies based on it, like Creepshow did, the idea was to make longer stand-alone films that were not adaptions. I could be cynical and say that it was just using the brand name to make movies that no one wanted otherwise, but Demon Knight was so good that I couldn’t think that way.
Bordello of Blood is exactly the kind of junk I figured they’d make. This script was picked instead of others considered, including Peter Jackson’s The Frighteners and Quentin Tarantino’s From Dusk till Dawn.
At a budget of $2.5 million dollars, the film looks cheaper than the TV series that gave it life, which is quite backward. And while Joel Silver was the producer, that led to all manner of questionable decisions, like his idea that supermodel actresses were what would change Hollywood and hiring Dennis Miller, who did not want to be in the movie and said he’d only do it for a million dollars. The studios said no, so Silver played fast and loose with the books and took $750,000 out of the special effects budget. You can really tell. During the holy water gun fight with the evil sex workers, the effects go from really good to beyond horrible, often within the same shot.
Further problems came up when Erika Eleniak — who had left Baywatch because she wanted to be taken seriously as an actress — allegedly did not want to play the character of Catherine. What a movie! Two actors that had no interest in being in it, a sliced and diced special effects budget and a movie shot in Canada due to Silver’s past union issues, which further had a non-union crew angered by the fact that Miller would rarely show up, working around the schedule of his Dennis Miller Live TV show, keeping them from seeing their families on weekends. Oh yeah — the script supervisor who was Miller’s stand-in — lots of the movie was shot without him — couldn’t remember all of Miller’s dialogue, which he’d frequently ad-lib, so the movie is filled with continuity issues.
The film starts on a great note, as some treasure hunters find the grave of Lilith, the queen of all vampires. They’re all killed by her except for the one who has the key from Demon Knight. Speaking of that film, its hero William Sandler has a cameo as a mummy in the Crypt Keeper segment.
Then, Caleb (Corey Feldman) and his buddy Reggie get attacked by vampires in a house of ill repute, revealing Lilith as Angie Everhart — that supermodel idea — and Tallulah as Juliet Reagh, Penthouse Pet for April 1987. Caleb’s sister — Eleniak — hires Rafe Guttman (Miller) to find her brother, bringing him to the titular bordello of blood.
Hey, the movie at least is good for trivia, as you have two of the stars of the 80’s bigger vampire movies — Feldman from Lost Boys and Chris Sarandon from Fright Night — in the cast. It also has a completely non-sensical ending that ignores all traditions of vampirism. And oh yeah — Reggie is played by Matt Hill, who was the voice of Raphael to Feldman’s Donatello in the Teenage Mutant Ninja Turtlesmovies.
This is the only movie Gilbert Adler would direct, although he produced Constantine and wrote Children of the Corn II: The Final Sacrifice.
As for this being a heavy metal movie, it does have a soundtrack with Anthrax doing the theme song, Sweet’s “Ballroom Blitz” — everyone used that in their movies at one point — and Redd Kross covering Kiss’ “Deuce.” Honestly, this movie could have an entire soundtrack by Black Sabbath and I’d still hate it.
While working on Interview with the Vampire, Tom Cruise met Brian De Palma at a dinner with Steven Spielberg. When he went back home, he saw all of De Palma’s films and hired him to direct Mission: Impossible.
Paramount Pictures had owned the rights to the original show and had tried for years to make a movie. Cruise was a fan of the show and decided that the first movie he’d produce for his new production company would be this movie.
Sydney Pollack, Steve Zaillian, David Koepp and Robert Towne all took turns at a script, as well as Koepp being taken off the film and put back on, as well as supposedly being paid a million dollars to rewrite a script by Messiah of Evil creators Willard Huyck and Gloria Katz.
There was no final script when they started shooting the action sequences, but come on. This movie is all about set pieces. And it was all completed on time and under budget. Roger Ebert — as nearly always at least in print — had it right: “This is a movie that exists in the instant, and we must exist in the instant to enjoy it.”
You know who didn’t like it? The actors from the original series. Martin Landau said, “When they were working on an early incarnation of the first one—not the script they ultimately did—they wanted the entire team to be destroyed, done away with one at a time, and I was against that. It was basically an action-adventure movie and not Mission. Mission was a mind game. The ideal mission was getting in and getting out without anyone ever knowing we were there. So the whole texture changed. Why volunteer to essentially have our characters commit suicide? I passed on it … The script wasn’t that good either!”
Greg Morris walked out of the theater when he found out that Jim Phelps would be a traitor, while Peter Graves, who played the role in both the 60s and 80s series, refused to be in the film when he learned how his character would change sides.
Instead of the original cast, all of Ethan Hunt’s (Cruise) team is killed– yes, that’s an uncredited Emilio Estevez — and an arms dealer named Max Mitsopolis (Vanessa Redgrave) and her mole are behind it all. Hunt and the only person he feels he can trust, Phelp’s wife Claire (Emmanuelle Béart), recruit two rogue IMF agents, computer hacker Luther Stickell (Ving Rhames) and helicopter pilot Franz Kriege (Jean Reno) to figure out who is the mole and how they can stop their plans.
So yes, the story is convoluted, but again, you’re here to watch Hunt spider his way into CIA headquarters and fight people on a high speed train. It worked, too, because it made $450+ million at the box office and there are eight movies in the series.
De Palma would not return, but the series has seen John Woo, J. J. Abrams, Brad Bird and Christopher McQuarrie (who has been part of the last four films) work on different movies. That’s a pretty talented group of filmmakers.
On March 24, 1990, NBC aired the final episode of Alf.
The main character on the show was, well, ALF (Alien Life Form). No one used his real name, Gordon Shumway. He came from the exploded world of Melmac to Earth, smashing into the garage of the suburban middle-class Tanner family who are made up of Willie (Max Wright), Kate (Anne Schedeen), Lynn (Andrea Elson), Brian (Benji Gregory), cat Lucky and later baby Eric.
ALF was such a big deal that there were stuffed toys at Burger King and a cartoon series, which was infamous for one episode supposedly having a subliminal message.
For four seasons, the family dealt with the completely rude and often hilarious being and kept him safe from the Alien Task Force. And Alf also made plenty of friends, including Willie’s brother Neal (Jim J. Bullock), a psychologist named Larry (Bill Daily) and Jody (Andrea Covell), a blind woman who falls in love with him.
ALF was incredibly difficult to make, so much so that in a People article in 2000, everyone admitted that people were constantly freaking out on the set. Max Wright hated every minute of it, losing most of the laugh lines to a puppet. He supposedly even physically attacked ALF once. That said, in the same article, he was more open-minded about the show, saying “It doesn’t matter what I felt or what the days were like, ALF brought people a lot of joy.”
Yet after the final episode, “Consider Me Gone,” Anne Schedeen said that after the final take, “there was one take and Max walked off the set, went to his dressing room, got his bags, went to his car and disappeared… There were no goodbyes.”
I always wondered why the show ended, but now that I know more, I feel for the cast. Schedeen also reported that “It’s astonishing that ALF really was wonderful and that word never got out what a mess our set really was.”
One example is her TV daughter Andrea Elson. After suffering from bulimia during the show, she admitted that if the show went one more year, everyone would have really lost their minds.
That said, ALF was in tenth place in season 2 and never went below 39th place. The kind of ratings it got back then would be a huge success today. By season 4, NBC was on the bubble, so the show did a cliffhanger. Then they got a verbal commitment from NBC. But then the show never came back.
Imagine being a child when the true worry of the show finally came true. ALF was taken by the government to be dissected after he missed aliens from New Melmac coming to rescue him. It said “To be continued,” but it never was. NBC executive Brandon Tartikoff would years later tell puppeteer Fusco “It was a big mistake that we canceled your show, because you guys had at least one or two more seasons left.”
ABC would finally resolve the cliffhanger six years later with Project:ALF.
Project: Alf is one strange movie. On one hand, it has plenty of the humor of the original show. But it comes off as gallows humor, as ALF is detained at Edmonds Air Force Base and constantly being threatened by Colonel Gilbert Milfoil (Martin Sheen). He’s finally had enough and plans to incinerate the creature, despite how beloved he is by the base. Of course, ALF has taken advantage of everyone, creating a black market out of a hangar and continually winning money playing poker.
As for the Tanner family, they used the Witness Protection Program to go to Iceland.
Two of the scientists, Major Melissa Hill (Jensen Daggett, Friday the 13th Part VIII: Jason Takes Manhattan) and Captain Rick Mullican (William O’Leary, who was on Home Improvement playing the husband of his co-star Daggett) kidnap ALF and take him on the run where he meets Ray Walston — once My Favorite Martian — as a motel clerk and goes to the Kitty Kat Lounge, which he thinks is a buffet but ends up being filled with exotic dancers.
He finally ends up in the orbit of Dexter Moyers (Miguel Ferrer), who was nearly one of the men on the moon ad has now been discredited by the government. He’s going on a Piers Morgan-esque show where he will publicly show ALF to the world but Minfoil wants to exterminate Gordon Shumway before that can happen.
There’s a wild cast in this. Beyond Sheen and Ferrer, there’s John Schuck, Ed Begley, Jr., Charlie Robinson (Mac from Night Court), Beverly Archer (who was Mrs. Byrd on the original show), Ahmet Zappa and even a robot that seems to be set up to be the Higgins for ALF if this ever became a series.
The movie was directed by Dick Lowry (Smokey and the Bandit Part 3, Archie: To Riverdale and Back Again, In the Line of Duty: The F.B.I. Murders, The Gambler, The Jayne Mansfield Story) and written by Tom Patchett, who was one of the creators of ALF along with Paul Fusco, who returns to play ALF. Patchett also created the shows Buffalo Bill and The Tony Randall Show, as well as writing Up the Academy, The Great Muppet Caper and Muppets Take Manhattan.
I really enjoyed this, as it brought back happy memories from my late teen years. I think you’ll feel the same way.
Project Alf is now available on blu ray from Liberation Hall, who have been releasing some interesting TV movies lately. It has a photo gallery, a trailer and an interview with creator Paul Fusco. You can get it from MVD.
I know no bigger fan of Dawson’s Creek than my friend Jim Sloss, who was kind enough to teach me that Pacey’s boat is named True Romance and to write this:
Over the years Sam has asked me many times if I’d like to write something for B&S and I’d always hem & haw and then never get around to it. Then came the box set of all box sets, the show that is like a time capsule to the 1990s and one of my all-time favorites, Dawson’s Creek.
In 1998 when this show came out I can remember vividly watching it on my VCR the following morning (because I had to work the night before) and from the first moment of the pilot to the last I was hooked, the dialogue was nothing that I’d heard before in a teen soap. They took a chance at treating the audience like adults rather than kids and it paid off. So, from that night on I followed the “kids” from Capeside each week for six seasons.
Created by Kevin Williamson, the co-creator of the horror franchise Scream, this series is a fictionalized account of a young film buff from a small town just trying to find his way. Pretty much what Kevin Williamson did was pitch what he knew and so he told a fictionalized version of his growing up in North Carolina. The show was launched on the WB network in January 1998 and was an instant hit with the show being parodied on MTV and Saturday Night Live. Their use of current pop culture and hit music for the time was what kept it relevant each week and talked about on school campuses.
During the late 90s, Dawson’s Creek was considered cutting edge for teen angst, touching on issues that were not talked about on TV and even less so in public. The first season dealt with drug abuse, addiction and infidelity along with every teenage boys dream… the inappropriate relationship with a hot teacher. In 1998 that was a huge story arc for a main character with the teacher just leaving to avoid scandal. These types of stories were becoming more and more common during this time and now leads to the teacher spending long stretches in prison rather than just moving on to another school.
Yet along the way these colorful kids learned from their mistakes and grew into functioning adults just trying to make their way. With the main character Dawson Leery, played by James Van Der Beek, not getting his High School crush Joey Potter, played by Katie Holmes, but instead getting to fulfill his dream of working in movies and TV where he turned his life into a teen drama TV show just like Kevin Williamson.
I would be remiss if I didn’t leave you with the greatest quote and moment of this fantastic tv show. In the finale we find our core characters several years in their future living their lives with little interaction when everyone is reunited for a wedding they immediately learn that one of the main characters, Jen Lindley, is dying of cancer. While Dawson is spending time with his close friend at a hospice facility she has this Hollywood filmmaker record a video for her infant daughter to watch when she’s older. In that video one line she says that gets me every time is “Be sure to make mistakes. Make a lot of them, because there’s no better way to learn and to grow.” While she’s saying that you can see the anguish on Michelle Williams’ face, showing the audience how fragile she is at the end of her short life and how she just wants the best for her child.
This show never shied away from tough storylines and in the end wrapped up everyone’s arc phenomenally.
I would give this series a 10 out 10!!
P.S. The popular Jenna Ortega can be seen watching Dawson’s Creek in Scream 5 out in 2022 and currently on Paramount+.
Thanks again Jim.
The Mill Creek release of the entire series has all 127 episodes across six seasons, along with seven hours of bonus extras, which include Entertainment Weekly‘s 20th Anniversary Reunion, audio commentaries on select episodes, a retrospective featurette and alternate scenes and an alternate ending to the pilot episode.
I watched several of the episodes on this set as, surprise, I never watched this show, despite Jim telling me near consistently — we lived in a house with six people while this show was popular, so I have no idea how I didn’t watch it with him — that I need to watch “The Dawnson,” as he put it.
Surprisingly — as I have often remarked about Williamson’s other work — I really liked what I watched. It felt honest and truthful, nearly lived in. I’ve been watching a few episodes a week now and really enjoying the opportunity to be part of the lives of these characters.
These Mill Creek TV sets are great because they really give you the opportunity to do the same, exploring or binging or however you choose to watch. And unlike streaming, they’re always there for you, not being edited or taken down when you’re in the middle of watching a season.
Shot at the same time as the second Darkman movie, Darkman III: Die Darkman Die is directed again by Bradford May and written by Michael Colleary and Mike Webb, who also wrote Face/Off. I wonder if all the synthetic skin masks that Dr. Peyton Westlake (Arnold Vosloo) wears as Darkman inspired that movie?
This movie also has a Cannon-style reason for its order, as it was shot as the second movie and the return of Durant was to be the third film. That makes way more sense.
Our hero is helped by Dr. Bridget Thorne (Darlanne Fluegel, The Eyes of Laura Mars), who helps stabilize his formula. However, she’s also the mistress of his new enemy, Peter Rooker (Jeff Fahey), who works with the doctor to treat Darkman like a lab rat, all so he can gain superhuman strength.
Then, well, Darkman uses his skin to superhumanly cuck his enemy, spending time with his neglected wife Angela (Roxann Dawson) and daughter Jenny, even going to see her school play. This all culminates in the bad guy abducting and threatening his own family before his Darkman-assisted death, Jenny’s face is burnt in the ensuing fire, so our hero gives the last of his new skin to her and he’s back in the darkness, never to know love.
A fourth movie — and that still promised Fox series — never happened. Vosloo claimed he would never do an effects-heavy role again and hey, he went back on that and was in The Mummy and played another face-swapping character, Zartan, in the first G.I. Joe movie.
Pocket Books also published four more Darkman books — The Hangman, The Price of Fear, The Gods of Hell and In the Face of Death — while Marvel published a movie adaption and a six-issue miniseries sequel. In 2006, Dynamite Entertainment published a crossover between Ash from Evil Dead and Darkman.
Santa Claws (1996):John Russo lives in Glassport, which I can see from my house, and he wrote the idea that became Night of the Living Dead, which would probably be enough, but he also helped make Return of the Living Deadhappen. And he also made Midnight and The Majorettes, two movies that fall into that strange genre that can only come from Pittsburgh, the yinzer giallo. He also was the publisher and managing editor of Scream Queens Illustrated, which figures into this movie.
Raven Quinn (Debbie Rochon) used to be a scream queen but ever since she had two children with a scream queen magazine publisher who would rather take nude photos of models than work on his marriage. Luckily, she has Wayne (Grant Cramer), a neighbor who once watched his mommy do more than kiss Santa Claus, lost his mind and killed them both. So perhaps she is not quite so fortunate.
Beyond getting to see Night stars like Marilyn Eastman, who played Helen Cooper, Karl Hardman, who played her husband Harry, and first zombie — and the director of The Majorettes and FleshEater— S. William Hinzman, you can pretty much see this as an American Night Killer. They’re both set at Christmas, they both deal with broken marriages and they’re both absolutely berserk movies seemingly made by maniacs.
Waste not, want not, as Russo edited this into Scream Queens Naked Christmas.
Yinzer bonus: Numerous scenes of characters wandering Market Square before anyone went there, back when George Aiken was still making the best-fried chicken ever, when National Record Mart still had that huge store and G.W. Murphy’s was still open. I mean, the killer runs into the Oyster House for a second and I was awash with 90s dahntahn memories, like Honus Wagner, the smell of Hare Krishna’s t-shirts, Candyrama and so much more.
In short, a killer that uses a garden cultivator as a weapon, like a total South Hills Blood and Black Lace, all with softcore dancing that makes me wistful for dollar pizza at Anthony’s and the old sign that was painted on the wall at the Cricket and hey, John Russo wrote two songs for this, “Christmas by Myself” and “Brand New Christmas.”
If you remember that old store Novelties in Market Square that never seemed to sell anything and was put out of business for a Dunkin’ Donuts, well, I want you to know that this movie has the killer buy his Santa Claus suit in that very store.
Welcome to the yinzer giallo list, Santa Claws. Meet us under the Kaufmann’s clock for your framed certificate.
Scream Queens Naked Christmas (1996): Available as an extra on the new Terror Vision blu ray of Santa Claws, Scream Queens’ Naked Christmas is such an oddity in our overly saturated by pornography world of 2022. It’s dirty, kind of, but not really in any way as much as it’s women taking their clothes off which seems perfectly chaste today. It ends up here, a combination movie for this week of Pittsburgh movies and holiday classics — classics may be stretching things but it is the season of giving — directed by John Russo, who was also the publisher and managing editor of Scream Queens Illustrated, a magazine that chronicled horror movie actresses — and showed their boobs, let’s be frank — in a time when getting on the internet often involved needing to be at a university or the slowest dial up ever.
As a kid, I often fantasized about what it would be like going to the Edison Hotel and what was waiting for me inside. I should have been shown this film because the dancing in it is about as sexy as any so-called Pittsburgh adult club I’ve ever been in. At least the Tennyson Lounge used to let you get up on stage and sing, The Cricket was cheap to drink at and you could get dollar slices at Anthony’s when that was still a place. In fact, I’ve always liked the aura of sin in clubs of ill repute more than experiencing the sin because it’s just a transaction and the sooner you realize you’re just a mark, the quicker you can just hang back and soak it all up. The robotic dancing in this, the faraway eyes — just imagine it darker, smelling like more perfume and if you dumb glitter all over yourself and burn your money, you too can have an authentic experience.
With Wayne (Grant Kramer) from Santa Claws hosting, basically this video is John Russo and Bill Hinzman videotaping women and getting them naked for the yule season. Sue Ellen White only did this movie, but Lisa Delien (using the stage name Lisa Duvaul) was also in Eyes Are Upon You and Amanda Madison (using the name Christine Cavalier) appeared in other movies like Psycho Dance, Psycho Vampire, Slaughter Secretaries…yes, all Wave Productions. She’s also in Donald Farmer’s Red Lips.
The main star is, of course, Debbie Rochon, whose career took her everywhere from getting a scar on the streets of Vancouver at the age of 14 and being an extra in Ladies and Gentlemen, The Fabulous Stains to buiding her legacy as a scream queen in movies like Lurkers, Tromeo and Juliet and so many more, being picked as Draculina magazine’s Scream Queen of the Decade (1990–1999). She’s still making movies today, shrugging off setbacks like nearly losing four fingers of her right hand to a prop machete. She’s also one of those people who appear so perfect that you wonder if they’re some kind of android. I hope she never stops making movies ever.
This movie is ridiculous but I’m also strangely happy that it exists. If you saw Santa Claws, you’ve seen it already, but I respect that Russo is out to make money off you more than once for the same exact product.
You can get these movies together on the Terror Vision blu ray of Santa Claws.
April 13: Kayfabe Cinema — A movie with a pro wrestler in it.
Billy Drago spent four hours or more getting into makeup every day for this movie but man, Drago was an intimdating guy even without the latex. Here, he’s Adrian Dunn, the former partner of Cameron Grayson (Roddy Piper). He killed Cameron’s wife and was sent to a jail on the moon, because this movie takes place in 2009 and director Peter Svatek and writer Mark Sevi (Scanner Cop II, Class of 1999 II: The Substitute, Dream a Little Dream 2) thought that man would be living there within 13 years. Well, right now it’s 2023 and I am not writing this from the moon.
But man, this movie goes past expectations by starting with Drago fighting another convict with buzz saws, killing that criminal and then ripping some alien virus out of his face and putting it into a hole he’s cut into his arm. He dies, but really he becomes monstrous and is sent back to Earth as a corpse that wakes up and instantly assaults and infects a woman.
Now, every woman that Dunn sees looks like Cameron’s dead wife and he keeps knocking them up with alien virus creatures. Luckily, Dr. Kirbie Younger (Jayne Heltmeyer) is around to help figure out how to stop the virus. She also looks just like — you know it — Cameron’s dead wife.
This is a perfectly fine straight to video science fiction movie that makes good use of Piper. I can always watch more movies with Drago as the bad guy, too.
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